The shift to synth-driven grooves from some of the trio’s earlier folk-based ballads sent them soaring up the charts on both sides of the pond, but proved to be another wedge in the band. It would shortly become the group’s signature sound. Through RSO’s distribution deal with Atlantic, the band paired with the latter label’s producer Arif Mardin for 1975’s Main Course - an album that not only resurrected their career, with such hits as “Jive Talkin’,” “Nights on Broadway” and “Fanny (Be Tender With My Love),” but also put Barry’s falsetto front and center. Relocating to Miami (where the brothers, their families and parents all eventually moved) proved just the inspiration they needed. Get to America, get influenced by American artists.’ And we did just that.” Don’t spend your life tying to stick with psychedelic music or whatever you think is happening in England. “Eric said, ‘Why don’t you make an album in America?’” Gibb recalls. Stigwood also introduced them to another management client, Cream, then fronted by Eric Clapton. It was Clapton who, years later, suggested that the commercially slumping Bee Gees leave London to go record in Miami, where Clapton had recorded his now-classic 1974 album, 461 Ocean Boulevard. The film is filled with a treasure trove of trivia - such as the revelation that the Bee Gees originally wrote “To Love Somebody” for Otis Redding, who died before he could record it - as well as archival footage and memorabilia, including the letter the Bee Gees’ father, Hugh, wrote to the Beatles’ manager Brian Epstein, asking him to handle his sons’ career.Įpstein handed the band over to Robert Stigwood, who guided their career for years, steering them to stardom.
The Bee Gees Ink Worldwide Deal With Capitol Records (Sister company Universal Music Publishing Group also handled the Bee Gees song copyrights). Barnett mentioned that the company was moving into documentary production and that the Bee Gees had recently signed a worldwide agreement with Capitol that covered their expansive recording catalog. In late 2016, Marshall visited his friend, Capitol Music Group chairman and CEO Steve Barnett, at Capitol Records Tower in Hollywood to tour the revamped recording studios where Marshall’s composer father was under contract during the 1950s and 1960s. The project came together with relative ease. I also realized what an amazing story this was of family, love of family, longevity and adaptation.” They transformed themselves through the adversity.
“You’re always going to have complicated relationships with your brothers, they survived them. In addition to the brothers’ 50 years of music making, Marshall was also drawn to “how they were able to reinvent themselves over five decades and the ups and downs,” he says. Because success creates that and you’re not the same anymore.”įor Marshall, who produced such films as The Curious Case of Benjamin Button and Seabiscuit, the Bee Gees story was as compelling as any fictional drama. The sibling rivalry and all those things. “We became famous, and that became a real powerful element in our lives,” Gibb, 74, tells Billboard. There was also conflict between the three, especially between Barry and Robin, who died in 2012, over who would sing lead vocals - leaving Maurice, who died in 2003, to play the intermediary. They continued to score top 10 singles through 1989, with that year’s “One” marking their final trip to the Hot 100’s top tier.įor all their success, the Bee Gees felt the pitfalls of fame, which led to wild indulgences in the film, Maurice boasts of having six Rolls Royces by the time he was 21. But the three brothers reinvented themselves once again, as songwriters and producers for other acts (including on Kenny Rogers and Dolly Parton’s “Islands in the Stream” and Barbra Streisand’s “Guilty”), before returning to the charts as artists. In the ’80s, the group fell victim of the disco backlash, and their pop success as a recording trio largely dried up.
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